Artistic form? There is a knight wearing a Hu suit, armor, a soft hat on his head, short boots on his feet, holding a horse in one hand and a bow in the other; there is a knight with a long crown on his head, arms stretched forward, and both hands. There are skilled warriors holding buns; there are subordinate commanders wearing long crowns, battle robes, long armors, and holding hookless hands; there are extraordinary magnanimous commanders wearing hei crowns, colorful fish scale armor, holding swords with both hands. General. These lifelike images of hundreds of officers and soldiers, especially in terms of expressions and personalities, appear realistic, natural and full of life. Such as the image of the general figurines: tall and tall, dressed in double shorts, covered with colorful fish scales, wearing double long crowns with long tails on their heads, standing tall and tall, with extraordinary expressions and majestic charm. The demeanor of ordinary warriors: some have raised lips and curled up beards, as if they are filled with anger; some have raised eyebrows and round eyes, with the muscles between the eyebrows twisted into knots, as if they have superhuman courage; some have thick eyebrows and big eyes, wide and wide They have thick lips and honest and simple characters; some have beautiful eyebrows and beautiful eyes, their heads are slightly lowered, and have elegant characters; some have sideways eyes and are alert and sharp; some hold their heads high and meditate, and some bow their heads thoughtfully, although both have to be portrayed The word "thinking", due to different expression methods, the former gives people the impression of being majestic and slightly arrogant, while the latter is calm and elegant. ?
The Qin Terracotta Warriors represent ancient military themes. It does not choose war scenes in which two parties are fighting and soldiers are fighting, nor does it choose scenes in which soldiers are repairing and stationing troops for defense. Instead, it captures the battle scene of soldiers wearing armor, standing in line, and preparing for battle. Although in this well-ordered static army camp, the artists still strive for "incidental movement and stillness" in the sculptures of individual pottery figurines. The armor-clad warrior figurines raised their eyebrows and stood solemnly, with firm and brave expressions. They seemed to be ready for battle, and they seemed to be in a state of war. There were also the charioteer figurines with their arms stretched forward. Holding the bun rope tightly, looking ahead, ready to go; the pottery horses pulling the cart have their ears erect, their eyes wide open, their noses open and neighing, eager to try; the knight figurines, holding the horse in the right hand, and the left hand With the bow raised, he stands alertly in front of the horse. Once given the order, he will gallop on the battlefield. It is these hundreds of vibrant pottery figurines with different expressions that form the overall static military position, achieving an unexpected artistic effect. "The most stillness is vivid, the more still it is, the more dynamic it is." Only this static military formation can make people feel the unpredictable depth of the military formation's huge deterrent power. Such a magnificent array and magnificent composition are unprecedented and unparalleled.
Method of expression? After the unification of the six countries, a national conscription system was implemented, and the soldiers came from all over the country. This is probably the main reason for the differences in their faces, expressions, and ages. The craftsmen used realistic artistic techniques to make them very lifelike. This huge group of Qin terracotta warriors contains many obviously different individuals, making the entire group appear more active, real and full of vitality. Looking at these thousands of warriors and soldiers, their sculpture art achievements have completely reached a level of artistic beauty. Whether it is the images of thousands of officers and soldiers with both physical and spiritual qualities, or the eager war horses, they are not mechanical imitations, but focus on showing their "inner vitality, emotional soul, character and spirit." Most of the images of pottery figurines are full of individual characteristics, appear lifelike, natural and full of vitality. The discovery of a complete range of types and an unprecedented number of bronze weapons in the figurine pits has greatly enriched the field of Qin weapon research. Among them, long beryllium and golden hooks are the first discoveries in the history of weapon archaeology. The discovery and research of the standardized process of weapon casting and the surface anti-corrosion treatment technology of weapons have filled the gaps in the research on the history of ancient science and technology. ?
In order to reproduce the majestic momentum of the Qin army 2000 years ago when they "attacked millions" and swallowed up mountains and rivers, the designers of the Qin Terracotta Warriors not only pursued the tallness of individual pottery figurines, but also carefully designed them. A large-scale military formation system consists of more than 8,000 tall figurines. On the right is a huge square formation, on the left is a large sparse formation, and on the rear left is the headquarters. Thousands of warriors holding weapons and hundreds of horses pulling carts formed a large and majestic lineup, rows and rows. Some have their hair in buns, wearing war robes, short boots, and holding crossbows, as if they are warriors charging into battle; some have no helmets and tied hair, wearing war robes, armor, holding crossbows, and carrying copper arrowheads on their backs. , seem to be archers who are witty and good at shooting; some wear soft hats, robes and armor, with square feet and shallow shoes, holding long berylliums, like soldiers fighting in close combat.
Firing method? Terracotta warriors and horses are mostly made by the method of smelting and combining. First, a ceramic mold is used to make the initial body, and then it is covered with a layer of fine mud for processing, marking and coloring. Some are burned first and then connected, and some are connected first. Burn again. In fact, each of the terracotta warriors and horses back then had bright and harmonious paintings. During our excavations, we found that some pottery figurines still retained their bright colors when they were first unearthed. After they were unearthed, the colors slowly fell off due to the dry air. All that can be seen now are the remaining traces of painting. The chariots, infantry, and cavalry of the Terracotta Warriors are arranged in various formations. The overall style is strong, toned and refined. If you observe carefully, you will find differences in face shape, hairstyle, body posture, and charm: some Tao horses have their ears erect, some open their mouths and neigh, and some stand silently with their mouths closed. All these Terracotta Warriors and Horses of Qin Shihuang are full of artistic charm that appeals to people.
Influence on later generations? The Qin Shi Huang Terracotta Warriors and Horses Museum is the largest ancient military museum in China. In 1961, the State Council of the People's Republic of China designated the Mausoleum of Qin Shihuang as a national key cultural relic protection unit. The first comprehensive archaeological survey of the Qin Shihuang Mausoleum began.
In 1962, archaeologists drew the first floor plan of the cemetery. After detection, it was found that the cemetery covers an area of ??56.25 square kilometers, equivalent to nearly 78 Forbidden City, which caused a sensation in the archaeological community. In 1987, the Mausoleum of Qin Shihuang and the Terracotta Warriors and Horses were approved by UNESCO to be included in the World Heritage List, and were hailed as the "Eight Wonders of the World", which amazed people all over the world and made all Chinese proud.